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@met_esda

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Discover 500 years of art history with the Department of European Sculpture and Decorative Arts (ESDA) at The Metropolitan Museum of Art

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I’m happy to share my second collaboration with The Metropolitan Museum of Art — twelve centerpieces created for the Wrightsman Fellows Evening with the Department of European Sculpture and Decorative Arts.

For this project, the Met selected three objects from its collection and provided the original 3D scans, which I refined and prepared for printing on FormLabs machines. I then cleaned, hand-sanded, and painted each print in-house, developing a gold finish inspired by French ormolu.

If you’ve been wondering what I’ve been up to over the past few months, this is it! Many thanks to everyone at the Met for this wonderful opportunity.

@metmuseum @met_esda @formlabs

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Original objects

Bust of “Baron” Schmiedel (1739), Meissen Manufactory

Vase (vase à tête d’éléphant) (1758), Sèvres Manufactory

Potpourri vase (pot-pourri à vaisseau) (1758), Sèvres Manufactory

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“To immerse oneself in the fully assembled version of Maximilian’s ‘Arch’ is to feel an almost crushing sense of overwhelm,” writes Wolf Burchard, Curator, European Sculpture and Decorative Arts (@met_esda), in his essay about the “Arch of Honor,” a marvelous 16th-century woodcut print in the @metdrawingsandprints collection.

“It could hang magnificently on a wall or sit quietly in a drawer, as was the case of several German copies that survived the turmoil of World War II unscathed while so many other monuments were lost,” Burchard continues.

Read more in “Points of View,” a compendium of short, thought-provoking essays and surprising insights by the staff of The Metropolitan Museum of Art. Shop the book through the link in bio or pick up a copy at The Met Fifth Avenue, out now from @metpubs.
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🖼️ Multiple Artists/makers (German), “Arch of Honor,” 1515, printed 1517/18. Woodcut print.

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“How on earth did Bernini father and son draw out this dynamic composition from a single hunk of stone?” asks Neil Cox, Head of the Leonard A. Lauder Research Center for Modern Art (@metlalresearchcenter), in his essay about “Bacchanal: A Faun Teased by Children,” a 17th-century sculpture in the @met_esda collection.

“The relationship was intimate and no doubt at first complicated, just like the fraught dynamic between the children and the faun in the sculpture. Fathers can be proud of sons who exceed them in their talents and assume a supporting rather than a leading role. Pietro seems to have followed this path, ceasing to practice independently as his son rose to become the preeminent sculptor of his generation,” Cox continues of this marvelous sculpture, on view in Gallery 534 of the @metmuseum at The Met Fifth Avenue.

Read more in “Points of View,” a compendium of short, thought-provoking essays and surprising insights by the staff of The Metropolitan Museum of Art. Shop the book through the link in bio or pick up a copy at The Met Fifth Avenue, out now from @metpubs.
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🍇 Gian Lorenzo Bernini (Italian, 1598–1680) and Pietro Bernini (Italian, 1562–1629), “Bacchanal: A Faun Teased by Children,” ca. 1616–17. Marble.

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Who is that looking at you? 👀

“As physical objects, meant to be held and privately contemplated, eye miniatures uncannily return the beholder’s gaze,” writes Kathryn Calley Galitz, Managing Educator, Museum Teaching and Volunteer Administration, in her essay on a series of miniature eye portraits from the early 19th century and now in the @metamericanwing and @met_esda collections.

Read more in “Points of View,” a compendium of short, thought-provoking essays and surprising insights by the staff of The Metropolitan Museum of Art. Shop the book through the link in bio or pick up a copy at The Met Fifth Avenue, out now from @metpubs.
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From left to right:

👁️ Edward Greene Malbone (American, 1777–1807), “Eye of Maria Miles Heyward,” ca. 1802. Watercolor on ivory.

👁️ American. “Lover’s Eyes,” ca. 1840. Watercolor on ivory.

👁️ English. “Eye” brooch, early 19th century. Portrait miniature possibly on ivory, pearls, rock crystal, gold.

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Looking for an escape from the New York fall rain this afternoon? Visit the adorable babies in new exhibition Rediscovering Della Robbia at The Met, with free admission as part of Met Family Afternoon.

About 1440, Luca della Robbia invented a technique for making glazed terracotta reliefs and statuary. His descendants brilliantly carried on his new art, magically imbuing clay with sweet and sassy personalities. Because Renaissance babies have big feelings too.

From 1-4 pm, drop in for free, hands-on family fun inspired by The Met collection. Make unique works of art as you travel through time and discover how materials bring artwork to life.

Families with children of all ages and abilities are welcome. Also enjoy hands-on activities in the free 81st Street Studio anytime.

The Met is home to the most important collection of Della Robbia sculptures in the United States, but many of them were out of sight for decades. Revived through conservation and re-attributed through fresh research, these sculptures are joined by new gifts and private collection. Also watch fascinating videos about the restoration process

Which baby is your favorite?

Metropolitan Museum Of Art
1000 Fifth Avenue at 82nd Street
New York, NY
FREE during Met Family Afternoon (Sep 20 1–4 pm)Always pay-what-you-wish for NYC residents (and free for ages 12 & under)

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now open at @metmuseum

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A King’s Carpet: Louis XIV and the Savonnerie is the 1st ever exhibition about the Savonnerie in the United States, bringing together 17th-century royal carpets at The Met. The Savonnerie manufactory was France’s premier royal carpet workshop, and under Louis XIV its carpets became important expressions of royal power, prestige, and diplomacy.

📍 The Metropolitan Museum of Art
🗓️ Through March 5, 2028

#themetmuseum #themetropolitanmuseumofart #artmuseum #museums #nycmuseum

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I did not expect to walk into the Met and become emotionally invested in 17th-century carpets, but here we are.

The colors are still so vibrant, the details almost absurdly intricate, and being able to stand this close to them changes everything. I don’t think I’ve ever seen carpets this beautiful.

Louis XIV commissioned 92 for the Grande Galerie of the Louvre. The project took twenty years, but the carpets were never installed. By then, Versailles had become the king’s main obsession.

Four complete carpets and fragments are now on view in the Wrightsman Galleries, which feels like a pretty spectacular place for them to have landed.

📍 Wrightsman Galleries, 524–528
🗓️ September 8, 2026–March 5, 2028

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Roll out the carpet, literally!

In 1668, Louis XIV commissioned the Savonnerie manufactory to create a series of 92 monumental carpets for the Louvre’s Grande Galerie, one of the most ambitious textile projects of all time.

Now, for the first time in The Met’s history, three Savonnerie carpets from this extraordinary commission are on view together.

Hear @met_esda curator Wolf Burchard share how the “Music” carpet was installed in the galleries.

“A King’s Carpet: Louis XIV and the Savonnerie” is now on view in Galleries 524–528.

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Inspired by Aphrodite - where beauty becomes power ✨🏛️
Thank you so much to my amazing photographer, @daria.photo_art for this wonderful photoshoot 🤍

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Ancient Souls ✨ 🏛️

#ancientgreece #museumguide #arthistory

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We are preparing the 17th century French carpet, “Grande Galerie carpet no. 11 (Music, reweave)” from Savonnerie Manufactory for the upcoming, “A King’s Carpet: Louis XIV and the Savonnerie,” opening September 8th. Due to the carpet’s large size (almost 30 feet long by 16 feet wide), a temporary set up in the public courtyard is required for us to attach a header and Velcro hanging system. We have a tight turn-around so please stop by today for this rare opportunity to see textile conservation in action or visit the exhibition to see this incredible carpet on display!

Exhibition on view from September 8, 2026–March 5, 2028, Galleries 524-528 @met_esda

“Grande Galerie carpet no. 11 (Music, reweave),” Savonnerie Manufactory, After designs by Charles Le Brun, Delivered between 1668 and 1677, Paris, 358 x 181 in. Gift of Rogers, 1952. acc#52.118

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